The TroubadoursBy: H.J. Chaytor (1871-1954)

First Page:

With the exception of the coat of arms at the foot, the design on the title page is a reproduction of one used by the earliest known Cambridge printer, John Siberch, 1521

PREFACE

This book, it is hoped, may serve as an introduction to the literature of the Troubadours for readers who have no detailed or scientific knowledge of the subject. I have, therefore, chosen for treatment the Troubadours who are most famous or who display characteristics useful for the purpose of this book. Students who desire to pursue the subject will find further help in the works mentioned in the bibliography. The latter does not profess to be exhaustive, but I hope nothing of real importance has been omitted.

H.J. CHAYTOR.

THE COLLEGE, PLYMOUTH, March 1912.

CONTENTS

PREFACE

CHAP.

I. INTRODUCTORY

II. THE THEORY OF COURTLY LOVE

III. TECHNIQUE

IV. THE EARLY TROUBADOURS

V. THE CLASSICAL PERIOD

VI. THE ALBIGEOIS CRUSADE

VII. THE TROUBADOURS IN ITALY

VIII. THE TROUBADOURS IN SPAIN

IX. PROVENCAL INFLUENCE IN GERMANY, FRANCE, AND ENGLAND

BIBLIOGRAPHY AND NOTES

INDEX

[Transcriptor's note: Page numbers from the original document have been posted in the right margin to maintain the relevance of the index references.}

THE TROUBADOURS [1]

CHAPTER I

INTRODUCTORY

Few literatures have exerted so profound an influence upon the literary history of other peoples as the poetry of the troubadours. Attaining the highest point of technical perfection in the last half of the twelfth and the early years of the thirteenth century, Provençal poetry was already popular in Italy and Spain when the Albigeois crusade devastated the south of France and scattered the troubadours abroad or forced them to seek other means of livelihood. The earliest lyric poetry of Italy is Provençal in all but language; almost as much may be said of Portugal and Galicia; Catalonian troubadours continued to write in Provençal until the fourteenth century. The lyric poetry of the "trouvères" in Northern France was deeply influenced both in form and spirit by troubadour poetry, and traces of this influence are perceptible even in [2] early middle English lyrics. Finally, the German minnesingers knew and appreciated troubadour lyrics, and imitations or even translations of Provençal poems may be found in Heinrich von Morungen, Friedrich von Hausen, and many others. Hence the poetry of the troubadours is a subject of first rate importance to the student of comparative literature.

The northern limit of the Provençal language formed a line starting from the Pointe de Grave at the mouth of the Gironde, passing through Lesparre, Bordeaux, Libourne, Périgueux, rising northward to Nontron, la Rochefoucauld, Confolens, Bellac, then turning eastward to Guéret and Montluçon; it then went south east to Clermont Ferrand, Boën, Saint Georges, Saint Sauveur near Annonay. The Dauphiné above Grenoble, most of the Franche Comté, French Switzerland and Savoy, are regarded as a separate linguistic group known as Franco Provençal, for the reason that the dialects of that district display characteristics common to both French and Provençal.[1] On the south west, Catalonia, Valencia and the Balearic Isles must also be included in the Provençal region. As concerns the Northern limit, it must not be regarded as a definite line of demarcation between the langue d'oil or the Northern French dialects and the langue d'oc or Provençal. The boundary is, of course, determined by noting the points at which certain linguistic features peculiar to Provençal cease and are replaced by the characteristics of Northern [3] French. Such a characteristic, for instance, is the Latin tonic a before a single consonant, and not preceded by a palatal consonant, which remains in Provençal but becomes e in French; Latin cant a re becomes chant a r in Provençal but chant e r in French... Continue reading book >>